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Trios - To be released September 29, 2017 | Berlin Classics
Johannes Brahms’s Horn Trio Op. 40 is without a doubt the best-known work for this formation and also one of the best-known chamber music pieces ever written for horn. Brahms succeeds like virtually no other composer in utilising the tone colours of this instrument. His trio has entrenched this formation in the stock repertoire of any horn player. It is therefore the centrepiece of this release. But what other works were written for horn trio, and was Brahms the first composer to write for this combination of instruments? What Felix Klieser and his friends have found is a repertoire spanning some 100 years, from Frédéric Duvernoy, who wrote his two trios at the start of the 19th century and was still under the influence of Viennese Classicism, to trios by Charles Koechlin (1867-1950) and Robert Kahn, written in the 20th century but still profoundly Romantic in their expression. That being said, Charles Koechlin, Frédéric Duvernoy and Robert Kahn chart intriguing musical terrain, presenting a variety of influences, forms and aspects of interplay between the three instruments. Each of Koechlin’s Quatre petites pièces Op. 32, written by Charles Koechlin between 1896 and 1906, has a distinctive underlying character. The limited compositional œuvre of Frédéric Duvernoy (1765-1838) immediately suggests that the Frenchman, who worked as a horn player at the Paris Opera and as a soloist , wrote music for his own use, notably horn concertos and works for horn and piano, but also three trios for violin, horn and piano, which were written as Trois trios concertants some time after 1820. These pieces are virtuosic, classically elegant and song-like. Serenade op. 73 by Robert Kahn (1865-1951), published in 1923, was clearly inspired by Schumann and even more so by Brahms.
Chamber Music - To be released August 25, 2017 | Evidence
The symphonic poems Fountains of Rome (performed for the first time 100 years ago) and Pines of Rome of the Italian composer Ottorino Respighi whisk us to the Eternal City for a unique journey. Thanks to the Suites n°1 and n°2 of Ancient Airs and Dances for Lute we can travel back in time to discover once again Italian and French music of the 16th and 17th centuries reinterpreted by Respighi. The pianists Giulio Biddau & Norberto Cordisco Respighi, a member of the Respighi family, provide an accurate performance that highlights the poetry and the enthusiasm of the scores, transcribed for piano duo by Respighi himself. (c) Evidence
Chamber Music - To be released August 25, 2017 | Sono Luminus
It’s not as common in this day and age, but the Californian composer Terry Riley is a true master of the string quartet. His long and fruitful association with the Kronos Quartet gave birth to 13 other string quartets. We also know that he has a clear fondness for the guitar, especially as his own son is a guitarist. It follows that nothing could be more normal that, one thing leading to another, Riley finally conceived a work for a quartet and guitar: the Dark Queen Mantra, played here by the aforementioned son Gyan Riley and the Del Sol String Quartet, to whom the work was dedicated. We find just as many Hispanic references as ‘minimalist’ themes in the work - let’s not forget that Riley was, alongside Glass, Reich, Adams, Nyman and Pärt, one of the founding fathers of minimalism, even if he often moves away from it. For Mas Lugares (su Madrigali di Monteverdi) by Stefano Scodanibbio, it is hardly surprising that Monteverdi is watching from the corner of the many turns, even if the composers writing is powerfully modern. The album closes with The Wheel - a sort of quasi-jazzy ballade, by way of introduction - and Mythic Bird Waltz, in which we find neither waltz, nor birds (other than those issued from the imagination of Tibetan Buddhism). Riley has, let’s not forget, drawn much of his inspiration from the musical, religious and mythological background of Asia, especially from India where he greatly deepened his learning of the ridiculously complex art of classical raga. © SM/Qobuz